US5659382A - Image conversion process and apparatus - Google Patents

Image conversion process and apparatus Download PDF

Info

Publication number
US5659382A
US5659382A US08/355,315 US35531594A US5659382A US 5659382 A US5659382 A US 5659382A US 35531594 A US35531594 A US 35531594A US 5659382 A US5659382 A US 5659382A
Authority
US
United States
Prior art keywords
frame
frames
film
sequence
pal
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Expired - Fee Related
Application number
US08/355,315
Other languages
English (en)
Inventor
Zbig Rybczynski
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
WELNOWSKI RICHARD
Zbig Vision Gesellschaft fur neue Bildgestaltung mbH
Original Assignee
CFB Centrum fur neue Bildgestaltung GmbH
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Priority to AU11910/95A priority Critical patent/AU690180B2/en
Priority to JP8517225A priority patent/JPH10509853A/ja
Priority to EP95902768A priority patent/EP0796537A1/de
Priority to PL94320563A priority patent/PL175571B1/pl
Priority to PCT/DE1994/001500 priority patent/WO1996018265A1/de
Priority to RU97112173A priority patent/RU2139637C1/ru
Priority to CZ971716A priority patent/CZ171697A3/cs
Priority to HU9702142A priority patent/HUT77158A/hu
Priority to NZ277029A priority patent/NZ277029A/en
Assigned to CFB CENTRUM FUR NEUE BILDGESTALTUNG GMBH reassignment CFB CENTRUM FUR NEUE BILDGESTALTUNG GMBH ASSIGNMENT OF ASSIGNORS INTEREST (SEE DOCUMENT FOR DETAILS). Assignors: RYBCZYNSKI, ZBIG
Priority to US08/355,315 priority patent/US5659382A/en
Application filed by CFB Centrum fur neue Bildgestaltung GmbH filed Critical CFB Centrum fur neue Bildgestaltung GmbH
Priority to NO972569A priority patent/NO972569L/no
Priority to FI972401A priority patent/FI972401A/fi
Application granted granted Critical
Publication of US5659382A publication Critical patent/US5659382A/en
Assigned to ZBIG VISION GESELLSCHAFT FUR NEUE BILDGESTALTUNG MBH reassignment ZBIG VISION GESELLSCHAFT FUR NEUE BILDGESTALTUNG MBH ASSIGNMENT OF ASSIGNORS INTEREST (SEE DOCUMENT FOR DETAILS). Assignors: RYBCZYNSKI, ZBIGNIEW, WELNOWSKI, RICHARD
Assigned to WELNOWSKI, RICHARD, RYBCZYNSKI, ZBIGNIEW reassignment WELNOWSKI, RICHARD ASSIGNMENT OF ASSIGNORS INTEREST (SEE DOCUMENT FOR DETAILS). Assignors: CFB CENTRUM FUR NEUE BILDGESTALTUNG GMBH
Anticipated expiration legal-status Critical
Expired - Fee Related legal-status Critical Current

Links

Images

Classifications

    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N7/00—Television systems
    • H04N7/01—Conversion of standards, e.g. involving analogue television standards or digital television standards processed at pixel level
    • H04N7/0135—Conversion of standards, e.g. involving analogue television standards or digital television standards processed at pixel level involving interpolation processes
    • G—PHYSICS
    • G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
    • G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
    • G03B27/00—Photographic printing apparatus
    • G03B27/02—Exposure apparatus for contact printing
    • G03B27/04—Copying apparatus without a relative movement between the original and the light source during exposure, e.g. printing frame or printing box
    • G03B27/08—Copying apparatus without a relative movement between the original and the light source during exposure, e.g. printing frame or printing box for automatic copying of several originals one after the other, e.g. for copying cinematograph film

Definitions

  • the present invention relates to conversion of television, computer or film images originated in a specific system of recording (i.e., a specific number of frames per second) to a system of projection designed for another system of recording (having a different number of frames per second).
  • a specific system of recording i.e., a specific number of frames per second
  • a system of projection designed for another system of recording having a different number of frames per second.
  • these different systems of recording will be referred to as "frame systems.”
  • NTSC Television--NTSC has nominally 30 "frames" per second. However, every frame includes two separate half images called "fields.” These two fields construct an NTSC video frame in such manner that the first field supplies the image information for all lines with an odd number and the second field supplies the image information for all other lines, i.e., those with even numbers. NTSC video frames therefore are called interlaced frames.
  • NTSC has 60 frames per second (fps).
  • PAL Television--PAL has nominally 25 "frames" per second. As with NTSC, however, every frame includes two separate images called “fields,” which are interlaced images. Again, because every field represents a different time interval, each field must be considered as a separate image. Thus, it should be considered that PAL has 50 fps.
  • Film 16 has 32 fps.
  • Film 24--Film 24 has nominally 24 "frames” per second. These frames also can literally be seen when examining a strip of the film. As with Film 16, however, during film recording and projection there is actually twice this number of changes of the image per second, i.e., here 48 changes. Only 24 of these changes represent images (i.e., "image frames”). The other 24 changes produce a black image which was the result of a closed shutter during the transportation of the film strip (i.e., "black frames”). Thus, it should be considered that Film 24 has 48 fps.
  • Film 60--Showscan film has nominally 60 "frames" per second. These frames also can literally be seen when examining a strip of the film. There are 120 changes of the image per second during film recording and projection, but only 60 of these changes represent images (i.e., "image frames”). The other 60 changes produce a black image which was the result of a closed shutter during the transportation of the film strip (i.e., black frames"). Thus, it should be considered that Film 60 has 120 fps.
  • Computer Images--Computer images are artificially generated images which do not "photograph” reality. Movement (animation) is a calculated process which can be designed according to any of the frame systems. If computer images were designed for a particular frame system and had to be transferred to another frame system, they would need to be treated as another individual frame system.
  • High Definition Television (television of the future) is an upgrade of NTSC and PAL standards and operates with a precise number of fps (precisely 60 fps and 50 fps).
  • NTSC and PAL have a frame rate slightly differing from 60 or 50 frames per second, respectively. It is, however, important for the image conversion between two systems that 60 NTSC frames and 50 PAL frames take exactly the same time, namely, approximately one second (exactly 1.0010 secs.).
  • strobe-flicker Two types of distortion appear during film and television projections.
  • One type of distortion is called “strobe-flicker”
  • the second type of distortion is called “jitter.”
  • Strobe-flicker is solely a consequence of a frame rate being too low for the creation of a flowing motion.
  • strobe flicker Because of the different basic technologies of film and video on film screens or television monitors, respectively, different kinds of strobe flicker appear. This kind of disturbance, however, is in no way related to the effects which origin in the conversion of images from one frame system into another frame system.
  • Image jitter arises from the currently applied--purely mechanical--methods of image conversions: the systematic leaving out or repetition of single images of the original system in the target system causes interruptions of the recorded motion. Since this disturbance is repeated in dependence of the frame rate in shorter or longer periods, the impression of a jittery image is caused.
  • Waller's process seeks to reduce strobe-flicker by representing the immediate past several film frames and the immediate future several film frames on one film frame.
  • This super-imposition results in an interesting visual effect--a "fan” of motion is built into each frame.
  • this "fan” effect does, as easily can be seen, not solve the strobe-flicker or jitter problems.
  • the Songer patent discloses superimposing two frames in one frame at an equal rate in an attempt to reduce strobe-flicker in film projection. Such superimposition results in blurred images and does not solve the strobe-flicker or jitter problems.
  • the methods according to Waller and Songer are not directed to reproduce the produced image material within another frame system, since the number of frames per time unit is not altered. Double or multiple exposure at constant frame rate cannot solve the image conversion problem, and furthermore, this method leads to a deterioration (blurring) of the produced image material as compared to the original material.
  • an uninterrupted stream of preferably at least 60 separate still images must be observed to create an illusion of constant motion. This is the principle for every frame system. Any interruption of the stream of images (i.e., by missing or repeated frames, or improper time presentation in a frame) causes a disturbance in the visual perception of motion. Deleting a frame causes a "hole" in the motion, and the repetition of a frame causes a "freeze" of the action. To more simply and better illustrate these and additional problems caused by mechanical transfer techniques, first the example of a clock face will be used.
  • the object of examination is the second hand of a clock. Assume that this second hand is filmed in a frame system which records only 1 fps, and four seconds of time are being analyzed. Every frame of recorded material will represent one tick of the second hand. When this material is projected on a system whose projection requires three frames of material during a 4 second duration (i.e., every frame is projected for 1.33 seconds), and a method of mechanical transfer is applied, one frame from the recorded material is removed. Thus, one tick of the second hand is removed. A "jump" in the second hand's motion will appear on the screen. This jump is caused by the missing frame of the removed tick.
  • every frame of recorded material represents 1.33 ticks of the second hand. If this material is projected on a system whose projection requires 4 frames of material during a 4 second duration, and a method of mechanical transfer is applied, one of the frames of the recorded material must be repeated. Thus, one tick of the second hand will have to repeated. A "freeze" in the motion of the hand will appear on the screen. This freeze is caused by the repeated tick.
  • the remaining frames also represent incorrect visual information. In the case where frames are removed (the "jump"), every frame is projected for 1.33 seconds, but the action actually shown in that frame represents only 1 second. In the case where frames are repeated (the "freeze”), every frame is projected for 1 second, but the action actually shown in that frame represents 1.33 seconds.
  • the method of transfer described in the Dejoux patent has been practiced in the television industry for many years. However, this method of transfer does not solve the jitter problem. In fact, the Dejoux method actually causes jitter.
  • Trumbull discloses a method for converting from a high frame rate motion to a low frame rate motion. This is done by superimposing some images and cutting out some images. The method of Trumbull would not solve the jitter problem because the timing of the original frame system is not maintained. Furthermore, Trumbull's method would cause strobe-flicker because the human brain can distinguish twenty-four separately projected images per second.
  • FIG. 1 illustrates a sequence of four image frames which would be produced by cinemagraphic exposure of four frames of film to an image field consisting of a moving circular object.
  • time durations are calibrated in degrees, wherein 360° represents a sequence of four film images corresponding to a time of 1/6 sec.
  • the moving circular object forms an elongated image on each frame corresponding to the motion of the object during the frame exposure interval (45° or 1/8 sec.).
  • the centers of each of the four frame images illustrated are equally spaced by a time (or angle) corresponding to the image frame rate. Since it is assumed that the object is undergoing uniform linear motion, there is an equal distance between the centers of the object in the time adjacent frames and an equal spacing between the adjacent image edges in time adjacent frames.
  • the frames are viewed, using the standard used in recording, a viewer perceives the object moving with uniform linear motion.
  • FIG. 2 illustrates the series of cinemagraphic images which would result from filming the same circular object with uniform linear motion using 60 field per second television video recording and converting to cinemagraphic film 24 using the prior technique. It may be observed from FIG. 2 that the object images in each of the four frames are elongated with respect to the images that would have been obtained by original exposure using cinemagraphic techniques, and that the images on film frame 1 and film frame 2 are overlapping, while the image on film frame 2 is substantially separated from the image on film frame 3.
  • this film is viewed using a Film 24 projector, the viewer perceives a slower object motion during the transition from frames 1 to frame 2 and accelerated, non-uniform object motion during the transition from film frame 2 to film frame 3, giving a perception of image "jitter".
  • the invention relates to a process for transferring images from a first frame system to a second frame system which causes no image disturbances and time changes with respect to the image motion information as the prior mechanical conversion methods do.
  • a first sequence from the first frame system (i.e., the originally recorded frame system) is determined so as to include a plurality of image frames.
  • a second sequence from the second frame system (i.e., the newly constructed frame sequence) is determined so as to include a plurality of image frames.
  • Each image frame for the newly constructed second frame system is built by actively superposing at least two image frames from the first frame system in a specific proportion such that the time distances of the image frames of the first sequence to the newly built image frames are reflected by individual weighing factors.
  • This image transfer process may be used to transfer images, for example, between the following frame systems: NTSC TV; PAL TV; Film 16; Film 24 ; Film 60 (Showscan system); and Computer Images.
  • every frame is created from scratch and none of the existing original frames are used as such in the newly constructed frames.
  • FIG. 1 is a diagram illustrating the image of a uniformly moving circular object as it would appear on sequential frames of a cinematographic film
  • FIG. 2 is a diagram illustrating the image of a moving object as it would appear in cinematographic film converted from television video signals using known transfer techniques
  • FIG. 3 is a diagram illustrating the images of a moving object as it would appear on cinematographic film converted from television video in accordance with the first preferred method of the present invention
  • FIG. 4a is a timing diagram illustrating the NTSC frame system
  • FIG. 4b is a timing diagram illustrating the PAL frame system
  • FIG. 5 is a rotating wedge diagram showing the NTSC and PAL frame systems and the timing relationship therebetween;
  • FIG. 6 is a rotating wedge diagram showing the NTSC and FILM 24 frame systems and the timing relationship therebetween;
  • FIG. 7 is a rotating wedge diagram showing the FILM 60 and FILM 24 frame systems and the timing relationship therebetween;
  • FIG. 8 is a rotating wedge diagram showing the FILM 60 and FILM 16 frame systems and the timing relationship therebetween;
  • FIG. 9 is a rotating wedge diagram showing the FILM 60 and PAL frame systems and the timing relationship therebetween;
  • FIG. 10 is a rotating wedge diagram showing the FILM 24 and FILM 16 frame systems and the timing relationship therebetween;
  • FIG. 11 is a rotating wedge diagram showing the NTSC and FILM 16 frame systems and the timing relationship therebetween;
  • FIG. 12 is a rotating wedge diagram showing the PAL and FILM 16 frame systems and the timing relationship therebetween;
  • FIG. 13 is a rotating wedge diagram showing the PAL and FILM 24 frame systems and the timing relationship therebetween;
  • FIG. 14 is a rotating wedge diagram showing the NTSC and FILM 60 frame systems and the timing relationship therebetween;
  • FIG. 15 is a rotating wedge diagram showing the NTSC and PAL frame systems and a timing relationship therebetween which is altered by means of an offset of the start times;
  • FIG. 16 is a simplified block diagram of an apparatus according to a second embodiment of the invention.
  • FIG. 17 is a simplified block diagram of an apparatus according to a second embodiment of the invention.
  • FIG. 3 is an illustration of a technique according to the first preferred embodiment of the invention wherein the exposure intensities of time adjacent NTSC television field images are varied according to the overlap of each television field time interval with the corresponding adjacent cinemagraphic frame FILM 24 time interval.
  • the cinemagraphic film frames are produced using the following frame intensities:
  • each of the cinemagraphic frame images is generated using image information from time adjacent television video field images with a weighted image intensity, wherein the weighing of the intensity of each television field image corresponds to the time overlap of the television video field interval with the cinemagraphic frame time interval.
  • the resulting cinemagraphic frame F1 image shown in FIG. 3 includes a relatively dark elongated image of the moving circular object within the position corresponding to television field 1A and a relatively light image for positions corresponding to television field 1B, accordingly producing an elongated image with a "shadow".
  • the inventor has observed that viewing this image with the "shadow” provides the viewer with the same perceived effect, i.e., perceived position of the moving object, as would be produced by the film image shown in FIG. 1.
  • the television video images of fields 2A and 2B are combined according to the invention with exposure intensities which correspond to the time overlap of television fields 2A and 2B in the cinemagraphic frame F2.
  • the result of the double image thereby produced is to provide perception of an object in a position closer to the position corresponding to the field 2B.
  • each frame of a frame sequence to be produced in a predetermined standard is synthesized from frames which have been recorded in another standard, wherein the original frame sequence and the frame sequence to be produced are assigned to a common time axis or scale.
  • the image contents of those frames of the original frame sequence which temporally overlap with a new frame to be produced or which are the next neighbors to this frame are used for the new frame.
  • an intensity weighing coefficient is assigned to each frame of the original frame sequence to be used, wherein the intensity weighing factor determines the contribution of the original frame to the new frame. This weighing coefficient is dependent on the degree of temporal overlap or distance, respectively, of the original frame to the new frame to be produced on the time scale.
  • a common starting point and time for the source frame sequence and the target frame sequence to be produced is determined. Then, a location in time of each frame of the source frame sequence, as well as the location in time of each frame of the target frame sequence to be produced is determined. For each frame of the target frame sequence to be produced, the temporally next neighboring frames (preferably two frames) of the source frame sequence are determined. A temporal distance or offset, respectively, of the respective time intervals of the next neighboring frames of the source frame sequence with respect to a time interval of the frame of the target frame sequence to be produced is determined, based on their respective characteristic points, preferably corresponding to the central point of the respective time intervals.
  • a frame specific, normalized intensity weighing coefficient is determined which depends on the temporal distance or offset, respectively, of the corresponding time interval with respect to the time interval of the frame of the target frame sequence to be produced.
  • the frame of the target frame sequence to be produced is formed by additively superimposing the next neighboring frames of the source frame sequence, each being multiplied by its corresponding intensity weighing coefficient.
  • the source frame sequence is recorded on a recording medium and/or the target frame sequence will be recorded on to a recording medium.
  • the source frame sequence is available in digital form, and the additively superimposing is carried out by pixel-by-pixel addition of the next two neighboring frames from the source frame sequence, wherein the level of the signals to be added is adjusted according to the corresponding intensity weighing coefficient.
  • the next neighboring frames of the source frame sequence are available in analog form as a photochemically produced record, and these frames are digitalized prior to additively superimposing them.
  • the additively superimposing may be carried out by multiple exposure of a frame area of a recording medium of the target frame sequence with the next neighboring frames of the source frame sequence, wherein the exposure intensity and/or exposure time is adjusted according to the intensity weighing coefficients.
  • the process includes superimposing two frames F j ,s (t j ) of the source frame sequence S including the characteristic points t j or t j+1 , respectively, the next neighboring frames being neighbored to the time t i , the i-th frame F i ,T (t i ) is formed in accordance with the relation:
  • C j ,S C j+1 ,S are the intensity weighing coefficients for the j-th or (j+1)-th source frame, respectively, and are evaluated as normalized weighing coefficients
  • a "sequence" is the duration of time when a full number of frames being as small as possible occurs in both systems.
  • a "sequence" is the duration of time when a full number of frames being as small as possible occurs in both systems.
  • the first full sequence appears after 6 frames of NTSC (FIG. 4a) and after 5 frames of PAL (FIG. 4b).
  • every frame of the sequence has a mathematical value, and it is possible to analyze the relationship between the frames in mathematical terms.
  • NTSC--PAL --Duration of the sequence is 0.1 sec.
  • Frame #2 from 60° to 120°
  • Frame #1b from 0° to 72° (The first frame of the next sequence)
  • each frame in one system may now be analyzed from the perspective of the other system.
  • This consideration of the frame system perspectives between NTSC and PAL may be more easily seen in FIG. 5, which shows the PAL sequence and the NTSC sequence superimposed on one another on the same circular scale.
  • FIG. 5 shows the PAL sequence and the NTSC sequence superimposed on one another on the same circular scale.
  • NTSC Frame #2 (having its center at 90°) is 18 degrees "ahead” (or earlier) in time compared to PAL Frame #2 (having its center at 108°), but “later” in time by 54 degrees as compared to PAL Frame #1 (having its center at 36°). All of the frames from the NTSC system can be analyzed in this manner as follows:
  • NTSC #1 (having its center at 30°) is 6° ahead of PAL #1 (having its center at 36°), but 66° later than PAL #5a (having its center at -36° (from the previous sequence));
  • NTSC #2 (having its center at 90°) is 18° ahead of PAL #2 (having its center at 108°), but 54° later than PAL #1 (having its center at 36°);
  • NTSC #3 (having its center at 150°) is 30° ahead of PAL #3 (having its center at 180°), but 42° later than PAL #2 (having its center at 108°);
  • NTSC #4 (having its center at 210°) is 42° ahead of PAL #4 (having its center at 252°), but 30° later than PAL #3 (having its center at 180°);
  • E. NTSC #5 (having its center at 270°) is 54° ahead of PAL #5 (having its center at 324°), but 18° later than PAL #4 (having its center at 252°); and
  • NTSC #6 (having its center at 330°) is 66° ahead of PAL #1b (having its center at 396° (36° in the next sequence)), but 6° later than PAL #5 (having its center at 324°).
  • each frame also may be analyzed from the PAL "perspective". For example, PAL Frame #2 (having its center at 108°) is 18° “later” in time compared to NTSC Frame #2 (having its center at 90°), but 42° ahead in time compared to PAL Frame #3 (having its center at 150°). All of the frames from the PAL system can be analyzed in this manner as follows:
  • PAL #1 (having its center at 36°) is 6° later than NTSC #1 (having its center at 30°), but 54° ahead of NTSC #2 (having its center at 90°);
  • PAL #2 (having its center at 108°) is 18° later than NTSC #2 (having its center at 90°), but 42° ahead of NTSC #3 (having its center at 150°);
  • PAL #3 (having its center at 180°) is 30° later than NTSC #3 (having its center at 150°), but 30° ahead of NTSC #4 (having its center at 210°);
  • PAL #4 (having its center at 252°) is 42° later than NTSC #4 (having its center at 210°), but 18° ahead of NTSC #5 (having its center at 270°);
  • E. PAL #5 (having a center at 324°) is 54° later than NTSC #5 (having its center at 270°) but 6° ahead of NTSC #6 (having its center at 330°).
  • NTSC #1 is 8.3% ahead of PAL #1, but 91.7% later than PAL #5a;
  • NTSC #2 is 25% ahead of PAL #2, but 75% later than PAL #1;
  • NTSC #3 is 41.7% ahead of PAL #3, but 58.3% later than PAL #2;
  • D. NTSC #4 is 58.3% ahead of PAL #4, but 41.7% later than PAL #3;
  • NTSC #5 is 75% ahead of PAL #5, but 25% later than PAL #4;
  • NTSC #6 is 91.7% ahead of PAL #1b, but 8.3% later than PAL #5.
  • PAL #1 is 10% later than NTSC #1, but 90% ahead of NTSC #2;
  • PAL #2 is 30% later than NTSC #2, but 70% ahead of NTSC #3;
  • PAL #3 is 50% later than NTSC #3, but 50% ahead of NTSC #4;
  • PAL #4 is 70% later than NTSC #4, but 30% ahead of NTSC #5;
  • PAL #5 is 90% later than NTSC #5, but 10% ahead of NTSC #6.
  • NTSC #1 is constructed from 91.7% of PAL #1 and from 8.3% of PAL #5a;
  • NTSC #2 is constructed from 75% of PAL #2 and from 25% of PAL #1;
  • NTSC #3 is constructed from 58.3% of PAL #3 and from 41.7% of PAL #2;
  • D. NTSC #4 is constructed from 41.7% of PAL #4 and from 58.3% of PAL #3;
  • E. NTSC #5 is constructed from 25% of PAL #5 and from 75% of PAL #4;
  • NTSC #6 is constructed from 8.3% of PAL #1b and from 91.7% of PAL #5.
  • PAL #1 is constructed from 90% of NTSC #1 and from 10% of NTSC #2;
  • PAL #2 is constructed from 70% of NTSC #2 and from 30% of NTSC #3;
  • PAL #3 is constructed from 50% of NTSC #3 and from 50% of NTSC #4;
  • PAL #4 is constructed from 30% of NTSC #4 and from 70% of NTSC #5;
  • E. PAL #5 is constructed from 10% of NTSC #5 and from 90% of NTSC #6.
  • Film system transfer processes based on this invention will not cause a jitter effect, and every frame of the new frame system will represent the correct time.
  • Transfers may be made between Film 24 and NTSC.
  • a rotating wedge representation of the sequence for the transfer between Film 24 and NTSC is shown in FIG. 6.
  • the duration of the sequence is 0.0833 seconds.
  • Frame #1 from 0° to 72° with the center at 36°;
  • Frame #3a from 180° to 270° with the center at 225° (i.e., -135°; this is the last image frame of the previous sequence);
  • Frame #2 from 90° to 180° with the center at 135° (a BLACK FRAME);
  • Frame #1b from 0° to 90° with the center at 45° (the first image frame of the next sequence).
  • NTSC #1 is 9° ahead of FILM #1, but 171° later than FILM #3a;
  • NTSC #2 is 117° ahead of FILM #3, but 63° later than FILM #1;
  • NTSC #3 is 45° ahead of FILM #3, but 135° later than FILM #1;
  • NTSC #4 is 153° ahead of FILM #1b, but 27° later than FILM #3;
  • E. NTSC #5 is 81° ahead of FILM #1b, but 99° later than FILM #3.
  • FILM #1 is 9° later than NTSC #1, but 63° ahead of NTSC #2;
  • FILM #2 should be a BLACK FRAME
  • FILM #3 is 45° later than NTSC #3, but 27° ahead of NTSC #4;
  • FILM #4 should be a BLACK FRAME (NTSC #5 is not needed).
  • NTSC #1 is 5% ahead of FILM #1, but 95% later than FILM #3a;
  • NTSC #2 is 65% ahead of FILM #3, but 35% later than FILM #1;
  • NTSC #3 is 25% ahead of FILM #3, but 75% later than FILM #1;
  • NTSC #4 is 85% ahead of FILM #1b, but 15% later than FILM #3;
  • E. NTSC #5 is 45% ahead of FILM #1b, but 55% later than FILM #3.
  • FILM #1 is 12.5% later than NTSC #1, but 87.5% ahead of NTSC #2;
  • FILM #2 should be a BLACK FRAME
  • FILM #3 is 62.5% later than NTSC #3, but 37.5% ahead of NTSC #4;
  • FILM #4 should be a BLACK FRAME (NTSC #5 is not needed).
  • NTSC #1 is constructed from 95% of FILM #1 and from 5% of FILM #3a;
  • NTSC #2 is constructed from 35% of FILM #3 and from 65% of FILM #1;
  • NTSC #3 is constructed from 75% of FILM #3 and from 25% of FILM #1;
  • D. NTSC #4 is constructed from 15% of FILM #1b and from 85% of FILM #3;
  • E. NTSC #5 is constructed from 55% of FILM #1b and from 45% of FILM #3.
  • FILM #1 is constructed from 87.5% of NTSC #1 and from 12.5% of NTSC #2;
  • FILM #2 should be a BLACK FRAME
  • FILM #3 is constructed from 37.5% of NTSC #3 and from 62.5% of NTSC #4;
  • FILM #4 should be a BLACK FRAME (NTSC #5 is not needed).
  • the superimposed rotating wedge charts for image transfer between FILM 60 and FILM 24 are shown in FIG. 7.
  • the duration of the sequence is 0.0833 seconds.
  • Frame #1 from 0° to 36° with the center at 18°;
  • Frame #6 from 180° to 216° with the center at 198° (BLACK FRAME);
  • Frame #3a from 180° to 270° with the center at 225° (-135°; the last image frame of the previous sequence);
  • Frame #2 from 90° to 180° with the center at 135° (BLACK FRAME);
  • Frame #1b from 0° to 90° with the center at 45° (the first image frame of the next sequence).
  • FILM60 #1 is 27° ahead of FILM24 #1, but 153° later than FILM24 #3a;
  • FILM60 #2 should be a BLACK FRAME
  • FILM60 #3 is 135° ahead of FILM24 #3, but 45° later than FILM24 #1;
  • FILM60 #4 should be a BLACK FRAME
  • FILM60 #5 is 63° ahead of FILM24 #3, but 117° later than FILM24 #1;
  • F. FILM60 #6 should be a BLACK FRAME
  • FILM60 #7 is 171° ahead of FILM24 #1b, but 9° later than FILM24 #3;
  • FILM60 #8 should be a BLACK FRAME
  • FILM60 #9 is 99° ahead of FILM24 #1b, but 81° later than FILM24 #3;
  • J. FILM60 #10 should be a BLACK FRAME.
  • FILM24 #1 is 27° later than FILM60 #1, but 45° ahead of FILM60 #3;
  • FILM24 #2 should be a BLACK FRAME
  • FILM24 #3 is 63° later than FILM60 #5, but 9° ahead of FILM60 #7;
  • FILM24 #4 should be a BLACK FRAME (FILM60 #9 is not needed).
  • FILM60 #1 is 15% ahead of FILM24 #1, but 85% later than FILM24 #3a;
  • FILM60 #2 should be a BLACK FRAME
  • FILM60 #3 is 75% ahead of FILM24 #3, but 25% later than FILM24 #1;
  • FILM60 #4 should be a BLACK FRAME
  • FILM60 #5 is 35% ahead of FILM24 #3, but 65% later than FILM24 #1;
  • F. FILM60 #6 should be a BLACK FRAME
  • FILM60 #7 is 95% ahead of FILM24 #1b, but 5% later than FILM24 #3;
  • FILM60 #8 should be a BLACK FRAME
  • FILM60 #9 is 55% ahead of FILM24 #1b, but 45% later than FILM24 #3;
  • J. FILM60 #10 should be a BLACK FRAME.
  • FILM24 #1 is 37.5% later than FILM60 #1, but 62.5% ahead of FILM60 #3;
  • FILM24 #2 should be a BLACK FRAME
  • FILM24 #3 is 87.5% later than FILM60 #5, but 12.5% ahead of FILM60 #7;
  • FILM24 #4 should be a BLACK FRAME (FILM60 #9 is not needed).
  • FILM60 #1 is constructed from 85% of FILM24 #1 and from 15% of FILM24 #3a;
  • FILM60 #2 is a BLACK FRAME
  • FILM60 #3 is constructed from 25% of FILM24 #3 and from 75% of FILM24 #1;
  • FILM60 #4 is a BLACK FRAME
  • FILM60 #5 is constructed from 65% of FILM24 #3 and from 35% of FILM24 #1;
  • F. FILM60 #6 is a BLACK FRAME
  • FILM60 #7 is constructed from 5% of FILM24 #1b and from 95% of FILM24 #3;
  • FILM60 #8 is a BLACK FRAME
  • FILM60 #9 is constructed from 45% of FILM24 #1b and from 55% of FILM24 #3;
  • J. FILM60 #10 is a BLACK FRAME.
  • FILM24 #1 is constructed from 62.5% of FILM60 #1 and from 37.5% of FILM60 #3;
  • FILM24 #2 is a BLACK FRAME
  • FILM24 #3 is constructed from 12.5% of FILM60 #5 and from 87.5% of FILM60 #7;
  • FILM24 #4 is a BLACK FRAME (FILM60 #9 is not needed).
  • FIG. 8 shows the superimposed rotating wedge chart for transferring images between FILM 16 and FILM 60.
  • the duration of the sequence is 0.25 seconds.
  • FILM60 #1 is constructed from 81.7% of FILM16 #1 and from 18.3% of FILM16 #7a;
  • FILM60 #2 is a BLACK FRAME
  • FILM60 #3 is constructed from 8.3% of FILM16 #3 and from 91.7% of FILM16 #1;
  • FILM60 #4 is a BLACK FRAME
  • FILM60 #5 is constructed from 35% of FILM16 #3 and from 65% of FILM16 #1;
  • F. FILM60 #6 is a BLACK FRAME
  • FILM60 #7 is constructed from 61.7% of FILM16 #3 and from 38.3% of FILM16 #1;
  • FILM60 #8 is a BLACK FRAME
  • FILM60 #9 is constructed from 88.3% of FILM16 #3 and from 11.7% of FILM16 #1;
  • J. FILM60 #10 is a BLACK FRAME
  • FILM60 #11 is constructed from 15% of FILM16 #5 and from 85% of FILM16 #3;
  • L. FILM60 #12 is a BLACK FRAME
  • FILM60 #13 is constructed from 41.7% of FILM16 #5 and from 58.3% of FILM16 #3;
  • FILM60 #14 is a BLACK FRAME
  • FILM60 #15 is constructed from 68.3% of FILM16 #5 and from 31.7% of FILM16 #3;
  • P. FILM60 #16 is a BLACK FRAME
  • FILM60 #17 is constructed from 95% of FILM16 #5 and from 5% of FILM16 #3;
  • R. FILM60 #18 is a BLACK FRAME
  • FILM60 #19 is constructed from 21.7° of FILM16 #7 and from 78.3% of FILM16 #5;
  • FILM60 #20 is a BLACK FRAME
  • U. FILM60 #21 is constructed from 48.3° of FILM16 #7 and from 51.7% of FILM16 #5;
  • V. FILM60 #22 is a BLACK FRAME
  • FILM60 #23 is constructed from 75% of FILM16 #7 and from 25% of FILM16 #5;
  • X. FILM60 #24 is a BLACK FRAME
  • Y. FILM60 #25 is constructed from 1.7% of FILM16 #1b and from 98.3% of FILM16 #7;
  • FILM60 #26 is a BLACK FRAME
  • FILM60 #27 is constructed from 28.5% of FILM16 #1b and from 71.7% of FILM16 #7;
  • FILM60 #28 is a BLACK FRAME
  • FILM60 #29 is constructed from 55% of FILM16 #1b and from 45% of FILM16 #7;
  • DD. FILM60 #30 is a BLACK FRAME.
  • FILM16 #1 is constructed from 31.25% of FILM60 #1 and from 68.75% of FILM60 #3;
  • FILM16 #2 is a BLACK FRAME (FILM60 #5 and FILM60 #7 are not needed);
  • FILM16 #3 is constructed from 56.25% of FILM60 #9 and from 43.75% of FILM60 #11;
  • FILM16 #4 is a BLACK FRAME (FILM60 #13 and FILM60 #15 are not needed);
  • FILM16 #5 is constructed from 81.25% of FILM60 #17 and from 18.75% of FILM60 #19;
  • FILM16 #6 is a BLACK FRAME (FILM60 #21 is not needed);
  • FILM16 #7 is constructed from 6.25% of FILM60 #23 and from 93.75% of FILM60 #25;
  • FILM16 #8 is a BLACK FRAME (FILM60 #27 and FILM60 #29 are not needed).
  • FIG. 9 shows the rotating wedge diagram for the image conversion between Film 60 ("showscan") and the PAL system.
  • the duration of the sequence shown in FIG. 9 is 0.1 seconds. This corresponds to five frames of PAL in the sequence and twelve frames of Film 60 (including six image frames and six black frames) in the sequence.
  • the data for the time intervals and their centers being the basis for the evaluation of the frame specific weighing coefficients immediately can again be taken from the respective frame number per sequence, and the relations are illustrated in the FIGURE. From this, once again, the temporal relations between the frames of the original and the target frame sequences can be derived following the method being generally described and exemplified in the cases PAL-NTSC, NTSC-PAL and others.
  • FILM60 #1 is constructed from 70.8% of PAL #1 and from 29.2% of PAL #5a;
  • FILM60 #2 is a BLACK FRAME
  • FILM60 #3 is constructed from 54.2% of PAL #2 and from 45.8% of PAL #1;
  • FILM60 #4 is a BLACK FRAME
  • E. FILM60 #5 is constructed from 37.5% of PAL #3 and from 62.5% of PAL #2
  • F. FILM60 #6 is a BLACK FRAME
  • FILM60 #7 is constructed from 20.8% of PAL #4 and from 79.2% of PAL #3;
  • FILM60 #8 is a BLACK FRAME
  • FILM60 #9 is constructed from 4.2% of PAL #5 and from 95.8% of PAL #4;
  • J. FILM60 #10 is a BLACK FRAME
  • FILM60 #11 is constructed from 87.5% of PAL #5 and from 12.5% of PAL #4;
  • L. FILM60 #12 is a BLACK FRAME.
  • PAL #1 is constructed from 65% of FILM60 #1 and from 35% of FILM60 #3;
  • PAL #2 is constructed from 45% of FILM60 #3 and from 55% of FILM60 #5;
  • PAL #3 is constructed from 25% of FILM60 #5 and from 75% of FILM60 #7;
  • PAL #4 is constructed from 5% of FILM60 #7 and from 95% of FILM60 #9;
  • E. PAL #5 is constructed from 85% of FILM60 #11 and from 15% of FILM60 #1b.
  • FIG. 10 is the rotating wedge diagram for image transfers between the Film 24 and Film 16 frame systems.
  • the duration of the sequence is 0.125 seconds.
  • Six frames of FILM 24 (including 3 image frames and 3 black frames) are inside the sequence, and four frames of FILM 16 (including 2 image frames and 2 black frames) are inside the sequence.
  • FILM24 #1 is constructed from 91.7% of FILM16 #1 and from 8.3% of FILM16 #3a;
  • FILM24 #2 is a BLACK FRAME
  • FILM24 #3 is constructed from 58.3% of FILM16 #3 and from 41.7% of FILM16 #1;
  • D. FILM24 #4 is a BLACK FRAME
  • FILM24 #5 is constructed from 25% of FILM16 #1b and from 75% of FILM16 #3;
  • F. FILM24 #6 is a BLACK FRAME.
  • FILM16 #1 is constructed from 87.5% of FILM24 #1 and from 12.5% of FILM24 #3;
  • FILM16 #2 is a BLACK FRAME
  • FILM16 #3 is constructed from 37.5% of FILM24 #3 and from 62.5% of FILM24 #5;
  • FILM16 #4 is a BLACK FRAME.
  • FIG. 11 shows the rotating wedge diagram for converting images between the NTSC and FILM 16 frame systems.
  • the duration of the sequence is 0.25 seconds.
  • the frame intervals on the time axis (being circle-shaped here as well as in all rotating wedge diagrams), the location of the centers thereof, and the temporal relations between the latter ones, once again immediately result from the frame number per frame sequence and can be taken from the figure.
  • NTSC #1 is constructed from 88.3% of FILM16 #1 and 11.7% of FILM16 #7a;
  • NTSC #2 is constructed from 15% of FILM16 #3 and 85% of FILM16 #1;
  • NTSC #3 is constructed from 41.7% of FILM16 #3 and 58.3% of FILM16 #1;
  • D. NTSC #4 is constructed from 68.3% of FILM16 #3 and 31.7% of FILM16 #1;
  • E. NTSC #5 is constructed from 95% of FILM16 #3 and 5% of FILM16 #1;
  • F. NTSC #6 is constructed from 21.7% of FILM16 #5 and 78.3% of FILM 16 #3;
  • NTSC #7 is constructed from 48.3% of FILM16 #5 and 51.7% of FILM16 #3;
  • NTSC #8 is constructed from 75% of FILM16 #5 and 25% of FILM16 #3;
  • NTSC #9 is constructed from 1.7% of FILM16 #7 and 98.3% of FILM16 #5;
  • J. NTSC #10 is constructed from 28.3% of FILM16 #7 and 71.7% of FILM16 #5;
  • NTSC #11 is constructed from 55% of FILM16 #7 and 45% of FILM16 #5;
  • L. NTSC #12 is constructed from 81.7% of FILM16 #7 and 18.3% of FILM16 #5;
  • NTSC #13 is constructed from 8.3% of FILM16 #1b and 91.7% of FILM16 #7;
  • N. NTSC #14 is constructed from 35% of FILM16 #1b and 65% of FILM16 #7;and
  • O. NTSC #15 is constructed from 61.7% of FILM 16 #1b and 38.3% of FILM 16 #7.
  • FILM16 #1 is constructed from 56.25% of NTSC #1 and from 43.75% of NTSC #2;
  • FILM16 #2 is a BLACK FRAME (NTSC #3 and NTSC #4 are not needed);
  • FILM16 #3 is constructed from 81.25% of NTSC #5 and from 18.75% of NTSC #6;
  • FILM16 #4 is a BLACK FRAME (NTSC #7 is not needed);
  • E. FILM16 #5 is constructed from 6.25% of NTSC #8 and from 93.75% of NTSC #9;
  • F. FILM16 #6 is a BLACK FRAME (NTSC #10 and NTSC #11 are not needed);
  • FILM16 #7 is constructed from 31.25% of NTSC #12 and from 68.75% of NTSC #13;
  • FILM16 #8 is a BLACK FRAME (NTSC #14 and NTSC #15 are not needed).
  • the rotating wedge chart for conversion between PAL and FILM 16 is shown in FIG. 12.
  • the duration of the sequence is 0.5 seconds.
  • PAL #1 is constructed from 91% of FILM16 #1 and from 9% of FILM 16 #15a;
  • PAL #2 is constructed from 23% of FILM16 #3 and from 77% of FILM16 #1;
  • PAL #3 is constructed from 55% of FILM16 #3 and from 45% of FILM16 #1;
  • PAL #4 is constructed from 87% of FILM 16 #3 and from 13% of FILM16 #1;
  • E. PAL #5 is constructed from 19% of FILM16 #5 and from 81% of FILM16 #3;
  • PAL #6 is constructed from 51% of FILM16 #5 and from 49% of FILM16 #3;
  • PAL #7 is constructed from 83% of FILM16 #5 and from 17% of FILM16 #3;
  • PAL #8 is constructed from 15% of FILM16 #7 and from 85% of FILM16 #5;
  • PAL #9 is constructed from 47% of FILM16 #7 and from 53% of FILM16 #5;
  • J. PAL #10 is constructed from 79% of FILM16 #7 and from 21% of FILM16 #5;
  • PAL #11 is constructed from 11% of FILM16 #9 and from 89% of FILM16 #7;
  • PAL #12 is constructed from 43% of FILM16 #9 and from 57% of FILM16 #7;
  • PAL #13 is constructed from 75% of FILM16 #9 and from 25% of FILM16 #7;
  • PAL #14 is constructed from 7% of FILM16 #11 and from 93% of FILM16 #9;
  • PAL #15 is constructed from 39% of FILM16 #11 and from 61% of FILM16 #9;
  • P. PAL #16 is constructed from 71% of FILM16 #11 and from 29% of FILM16 #9;
  • PAL #17 is constructed from 3% of FILM16 #13 and from 97% of FILM16 #11;
  • PAL #18 is constructed from 35% of FILM16 #13 and from 65% of FILM16 #11;
  • S. PAL #19 is constructed from 67% of FILM16 #13 and from 33% of FILM16 #11;
  • PAL #20 is constructed from 99% of FILM16 #13 and from 1% of FILM16 #11;
  • U. PAL #21 is constructed from 31% of FILM16 #15 and from 69% of FILM16 #13;
  • PAL #22 is constructed from 63% of FILM16 #15 and from 37% of FILM16 #13;
  • PAL #23 is constructed from 95% of FILM16 #15 and from 5% of FILM16 #13;
  • X. PAL #24 is constructed from 27% of FILM16 #1b and from 73% of FILM16 #15;
  • Y. PAL #25 is constructed from 59% of FILM16 #1b and from 41% of FILM16 #15.
  • FILM16 #1 is constructed from 71.9% of PAL #1 and from 28.1% of PAL #2;
  • FILM16 #2 is a BLACK FRAME (PAL #3 is not needed);
  • FILM16 #3 is constructed from 59.4% of PAL #4 and from 40.6% of PAL #5;
  • FILM16 #4 is a BLACK FRAME (PAL #6 is not needed);
  • E. FILM16 #5 is constructed from 46.9% of PAL #7 and from 53.1% of PAL #8;
  • F. FILM16 #6 is a BLACK FRAME (PAL #9 is not needed);
  • FILM16 #7 is constructed from 34.4% of PAL #10 and from 65.6% of PAL #11;
  • FILM16 #8 is a BLACK FRAME (PAL #12 is not needed);
  • I. FILM16 #9 is constructed from 21.9% of PAL #13 and from 78.1% of PAL #14;
  • J. FILM16 #10 is a BLACK FRAME (PAL #15 is not needed);
  • FILM16 #11 is constructed from 9.4% of PAL #16 and from 90.6% of PAL #17;
  • L. FILM16 #12 is a BLACK FRAME (PAL #18 and PAL #19 are not needed);
  • FILM16 #13 is constructed from 96.9% of PAL #20 and from 3.1% of PAL #21;
  • FILM16 #14 is a BLACK FRAME (PAL #22 is not needed);
  • FILM16 #15 is constructed from 84.4% of PAL #23 and from 15.6% of PAL #24;
  • P. FILM16 #16 is a BLACK FRAME (PAL #25 is not needed).
  • FIG. 13 shows the rotating wedge diagram for conversion between the PAL and FILM 24 frame systems.
  • the duration of the sequence is 0.5 seconds.
  • the time intervals and corresponding centers thereof once again can be derived from the division of the frame sequences into the number of frames as mentioned, and from this (considering the graphical representation in FIG. 13, too), the temporal relations of all frames of a frame sequence to be produced with respect to the temporally neighboring or overlapping frames, respectively, of the original frame sequence can be determined.
  • PAL #1 is constructed from 99% of FILM24 #1 and from 1% of FILM24 #23a;
  • PAL #2 is constructed from 47% of FILM24 #3 and from 53% of FILM24 #1;
  • PAL #3 is constructed from 95% of FILM24 #3 and from 5% of FILM24 #1;
  • PAL #4 is constructed from 43% of FILM24 #5 and from 57% of FILM24 #3;
  • E. PAL #5 is constructed from 91% of FILM24 #5 and from 9% of FILM24 #3;
  • PAL #6 is constructed from 39% of FILM24 #7 and from 61% of FILM24 #5;
  • PAL #7 is constructed from 87% of FILM24 #7 and from 13% of FILM24 #5;
  • PAL #8 is constructed from 35% of FILM24 #9 and from 65% of FILM24 #7;
  • PAL #9 is constructed from 83% of FILM24 #9 and from 17% of FILM24 #7;
  • J. PAL #10 is constructed from 31% of FILM24 #11 and from 69% of FILM24 #9;
  • PAL #11 is constructed from 79% of FILM24 #11 and from 21% of FILM24 #9;
  • L. PAL #12 is constructed from 27% of FILM24 #13 and from 73% of FILM24 #11;
  • PAL #13 is constructed from 75% of FILM24 #13 and from 25% of FILM24 #11;
  • PAL #14 is constructed from 23% of FILM24 #15 and from 77% of FILM24 #13;
  • PAL #15 is constructed from 71% of FILM24 #15 and from 29% of FILM24 #13;
  • P. PAL #6 is constructed from 19% of FILM24 #17 and from 81% of FILM24 #15;
  • PAL #17 is constructed from 67% of FILM24 #17 and from 33% of FILM24 #15;
  • PAL #18 is constructed from 15% of FILM24 #19 and from 85% of FILM24 #17;
  • S. PAL #19 is constructed from 63% of FILM24 #19 and from 37% of FILM24 #17;
  • PAL #20 is constructed from 11% of FILM24 #21 and from 89% of FILM24 #19;
  • U. PAL #21 is constructed from 59% of FILM24 #21 and from 41% of FILM24 #19;
  • PAL #22 is constructed from 7% of FILM24 #23 and from 93% of FILM24 #21;
  • PAL #23 is constructed from 55% of FILM24 #23 and from 45% of FILM24 #21;
  • X. PAL #24 is constructed from 3% of FILM24 #1b and from 97% of FILM24 #23;
  • Y. PAL #25 is constructed from 51% of FILM24 #1b and from 49% of FILM24 #23.
  • FILM24 #1 is constructed from 97.9% of PAL #1 and from 2.1% of PAL #2;
  • FILM24 #2 is a BLACK FRAME
  • FILM24 #3 is constructed from 89.6% of PAL #3 and from 10.4% of PAL #4;
  • D. FILM24 #4 is a BLACK FRAME
  • E. FILM24 #5 is constructed from 81.2% of PAL #5 and from 18.8% of PAL #6;
  • F. FILM24 #6 is a BLACK FRAME
  • FILM24 #7 is constructed from 72.9% of PAL #7 and from 27.1% of PAL #8;
  • FILM24 #8 is a BLACK FRAME
  • I. FILM24 #9 is constructed from 64.6% of PAL #9 and from 35.4% of PAL #10;
  • J. FILM24 #10 is a BLACK FRAME
  • K. FILM24 #11 is constructed from 56.2% of PAL #11 and from 43.8% of PAL #12;
  • L. FILM24 #12 is a BLACK FRAME
  • FILM24 #13 is constructed from 47.9% of PAL #13 and from 52.1% of PAL #14;
  • FILM24 #14 is a BLACK FRAME
  • O. FILM24 #15 is constructed from 39.6% of PAL #15 and from 60.4% of PAL #16;
  • P. FILM24 #16 is a BLACK FRAME
  • FILM24 #17 is constructed from 31.2% of PAL #17 and from 68.8% of PAL #18;
  • R. FILM24 #18 is a BLACK FRAME
  • S. FILM24 #19 is constructed from 22.9% of PAL #19 and from 77.1% of PAL #20;
  • FILM24 #20 is a BLACK FRAME
  • U. FILM24 #21 is constructed from 14.6% of PAL #21 and from 85.4% of PAL #22;
  • V. FILM24 #22 is a BLACK FRAME
  • FILM24 #23 is constructed from 6.2% of PAL #23 and from 93.8% of PAL #24;
  • X. FILM24 #24 is a BLACK FRAME (PAL #25 is not needed).
  • FIG. 14 shows the combined rotating wedge diagram for the conversion between the NTSC and the Film 60 frame systems.
  • the basic frame sequences for NTSC comprise 1 frame (field) and for Film 60 2 frames, wherein in the latter basic frame sequence an actually exposed and a "black" frame alternate, respectively.
  • the length of the frame intervals, the location of their centers and the time relations of the frames of both basic frame sequences to each other again immediately result from the combination of the frame numbers of the basic frame sequences and easily can be recognized in FIG. 14. From there, the rules for the construction of the several frames of the corresponding target sequence from the corresponding source sequence can be derived as follows:
  • NTSC #1 is constructed from 75.0% of FILM60 #1 and from 25% of FILM60 #1b.
  • FILM60 #1 is constructed from 75% of NTSC #1 and from 25% of NTSC #1a;
  • FILM60 #2 is a Black Frame.
  • both basic frame sequences are started synchronously, a special case of their relative assignment has been considered. Although preferably this case should be realized, since only here the synchronity of the film start prior to and after the conversion is guaranteed, it should also be possible to start from a slightly altered relative assignment of the basic frame sequences, e.g., to achieve some other kind of optimization for a distinct conversion.
  • the offset of both basic frame sequences arising in such case results in new frame centers and therefore in amended weighing coefficients.
  • the offset d is defined as the shift of the start point of the basic frame sequence of the target system with respect to that of the source system.
  • a positive sign describes a clockwise offset.
  • the offset of the PAL basic frame sequence with respect to the NTSC basic frame sequence is 24°.
  • Such offset may not lead to the sequence that for the first frame of the basic frame sequence to be produced, the interdependence to the frames of the source frame sequence is changed. That is why a shift of the frame center of the first frame of the target system can only be carried out within the region being defined by the frame centers of the two temporally corresponding frames of the source system.
  • the offset is restricted to an interval of -6° to 54°.
  • the images in the original frame system are transferred to the new frame system in the proportions described above.
  • the images in the new frame system can be built using digital processing.
  • the transfer between frame systems may include two steps: the preparation of the transferred image and the actual image transfer.
  • the preparation of material to be transferred is a reconstruction of missing visual information in the material.
  • interlaced video because every video frame includes an interlaced image, it is necessary, before transfer, to reconstruct part of the missing image in black lines.
  • There are methods of reconstructing the missing image which are applied in the "freeze frame" effect from one video field (a video field is also called a video frame in this application).
  • one method is a "double exposure" method.
  • two consecutive film frames from the original frame system are exposed with an optical printer using different exposures (time or density--according to the above described weighing factors) on one film frame of the new frame system.
  • two consecutive reconstructed video frames from the original video frame system are electronically mixed with different levels of signals (according to the above described calculations) to one frame on the new video frame system.
  • a conversion apparatus 100 for the production of a second frame sequence T on a second recording medium M t with a second frame change rate f T from a first frame sequence S being recorded on a first recording medium Ms with a first frame change rate f S working on a digital basis is schematically shown as a block diagram of functional components.
  • the original is a video record S being produced by means of an NTSC-camera 101 with a frame rate of nominally 30 (really 60) frames per second on video tape. This record is handed over to the conversion apparatus 100.
  • This apparatus comprises a recording device (a first video recorder) 102 working in the NTSC standard as well and comprising a driving unit 102a, a central timer 103, the output of which is connected to control inputs of all other components (except the components 108 and 109, as well as the video camera 101 and the display device 112, which do not form parts of the apparatus 100), a central processing unit (micro-controller, also called an evaluation unit in this application) 104, a first serial image memory 105 (the input of which is connected to the data output of the video recorder 102), and a second serial image memory 106 (the input of which is connected to the data output of the first memory 105).
  • a recording device a first video recorder
  • driving unit 102a working in the NTSC standard as well and comprising a driving unit 102a, a central timer 103, the output of which is connected to control inputs of all other components (except the components 108 and 109, as well as the video camera 101 and the display device 112, which do
  • the apparatus 100 comprises a digital mixing apparatus 107 comprising two separately controllable channels 107a, 107b (which mixing apparatus is connected to the data outputs of the memories 105 and 106 as well as to an output of the processing unit 104 and being well-known as such), a third serial image memory 110 (the input of which is connected to the data output of the mixing apparatus 107), an input keyboard 108 (being connected to an input of the processing unit 104), a monitor 109 (being connected to an output of the processing unit 104), and a recording device (a second video recorder) 111 comprising a driving unit 111a and working in the PAL standard.
  • An optical printer 113 may also be provided, wherein an input at the optical printer is connected to an output of the mixing apparatus 107.
  • a video tape M T being recorded by means of the video recorder 111 in the PAL standard with nominally 25 (really 50) frames per second, the tape comprising a target frame sequence T, finally is available for reproduction of the record on a PAL reproduction unit 112 after having been output from the conversion apparatus 100.
  • the video tape M S is loaded in the video recorder 102, a programming of the processing unit 104 for the conversion process (according to the conversion scheme NTSC-PAL as described above in detail) is carried out, and, if necessary, control data (e.g., offset data) are input by means of the input keyboard 108. Thereafter, the timer 103 as well as (synchronized by the timer) the video recorder 102 for reproduction and the video recorder 111 for recording are started.
  • control data e.g., offset data
  • the reproduction or play mode, respectively, of the video recorder 102 (in a mode which allows for the handling of separate frames by the processing unit 104 and the image memories 105, 106, 110) is controlled by the processing unit 104 (in cooperation with the external timer 103).
  • a j-th frame is loaded from the video recorder 102 into the first image memory 105, which step is as well triggered by the processing unit 104.
  • This frame will be reloaded into the second memory 106 as soon as the next required ([j+1]-th) frame of the source frame sequence appears on the video recorder 102, and at the same time the ([j+1]-th) frame is stored in the memory 105.
  • This means that at each time, two frames of the source video recordings to be used in the synthesis of the i-th target frame are available in a form being suitable for handling them in a digital manner.
  • the processing unit 104 responding to a clock signal of the timer 103 determines the weighing coefficients C j ,S and C j+1 ,S for the j-th and the ([j+1]-th) frame in NTSC standard, and adjusts the signal levels of the channels 107a and 107b correspondingly, starting from the value of j and the program data of the conversion program for the construction of the i-th frame in PAL standard being stored in a memory 104a, e.g., in form of a table.
  • the contents of the memories 105 and 106 each are weighed with the level as adjusted, added in the mixing apparatus 107 pixel per pixel, and the result is loaded into the third image memory 110. From there, the i-th frame of the PAL frame sequence being synthesized in the above manner will be recorded by the second video recorder 111 in response to a clock signal of the timer 103.
  • the obtained frames or images, respectively, can be observed on the monitor 109, and by means of the keyboard 108 the conversion can be influenced manually if this seems to be necessary.
  • the above described procedure will be repeated as long as the whole frame sequence ("film") originally being available in NTSC Standard has newly been recorded in PAL standard.
  • the conversion in the reverse direction PAL-NTSC would be carried out analogously, similarly as well the conversion into or from a computer graphics mode (of course considering the specific conversion relations to be predetermined within the program).
  • a transformation apparatus 200 is schematically illustrated for the production of a second frame sequence T' on a second recording medium F T , with a second frame change rate f T , and a second corresponding frame interval I T , from a first frame sequence S' being recorded on a first recording medium F S , with a first frame change rate f S and a first corresponding frame interval I S' , which apparatus partly uses conventional phototechnical methods.
  • the apparatus 200 is schematically shown as a block diagram of functional components.
  • the procedure starts from a film record S' being produced by means of a Film 16 camera 201 with a frame rate of 16 frames per second on cinemagraphic film F S' .
  • This film is loaded into the conversion apparatus 200.
  • the input keyboard 204 and the monitor 205 serve for controlling and observing the conversion process.
  • the apparatus 200 comprises a mixing photocopier or double exposure apparatus, respectively, 206 being known as such, and comprising two control inputs being connected to an output of the processing unit 203 and comprising two independently time controllable exposure units 206a, 206b, a transport apparatus 206c for the original film F S' , and a transport apparatus 206d for the film copy F T .
  • a film F T' being exposed in the mixing copier e.g., in Film 24 standard with 24 frames per second, and comprising a target frame sequence T' finally being output from the conversion apparatus 200, is ready for being projected by means of a Film 24 projector 207.
  • the original film F S' Prior to starting a conversion procedure, the original film F S' , is loaded into the mixing copier 206 and the processing unit 203 is programmed for the conversion process (according to the conversion scheme Film 16 to Film 24 explained above). Thereafter, the timer as well as (synchronized by means of the timer) the transport apparatuses 206c and 206d for the original film and for the film to be exposed in the Film 24 standard, respectively, are started.
  • the film transport of both films is controlled such that a phototechnical single frame handling in the mixing copier 206 is possible in a manner that in every step two neighboring frames B j ,S', and B j+1 ,S', of the original film F S' , are exposed on to one frame B i ,T', of the film to be exposed.
  • the mixing copier 206 is constructed such that at each time, one of two successive frames of the original film is in the exposure unit 206a and the other is in the unit 206b.
  • a two-channel exposure time controller 206e which is connected to the output of the processing unit 203, is connected to the mixing copier.
  • the processing unit 203 in response to a clock signal of the timer 202, fetches the weighing coefficients C j ,S', and C j+1 ,S', for the j-th and the (j+1)-th frame in Film 16 standard and determines the exposure times for the exposure units 206a, 206b, starting from the value for j being determined by an internal frame counter (not shown in the figure) or being transmitted from a counter of the transport apparatus 206c and the stored program data of the conversion program for the synthesis of the i-th frame in Film 24 standard. Thereafter, an exposure of the i-th frame of the target sequence T' is carried out by means of the exposure time controller 206e and the exposure units 206a, 206b, and thereafter both films are advanced.
  • a video recording unit for recording the synthesized frames and reproducing them on the monitor 205 as well as a control unit comprising an input keyboard for optionally manually influencing the mixing procedure can be provided.
  • the exposure unit alternatively can be constructed as an intensity controlled apparatus wherein the weighing coefficients would be realized by a light dimming process corresponding to its numeral value.
  • the processing units and their corresponding periphery--in a given case--even including the timer--can especially be microprocessor controlled units, such as a personal computer.
  • this apparatus should comprise an A-D image converter at the input, e.g., a film projector and a video camera or a CCD array having an image receiving surface being located in the projection plane for recording the projected images, and/or a film recording apparatus for producing a film of a synthesized frame sequence (e.g., taken from a high definition monitor) at the output.
  • an A-D image converter at the input, e.g., a film projector and a video camera or a CCD array having an image receiving surface being located in the projection plane for recording the projected images
  • a film recording apparatus for producing a film of a synthesized frame sequence (e.g., taken from a high definition monitor) at the output.
  • a digitally controlled laser of a holographic exposure apparatus can be useful.

Landscapes

  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Signal Processing (AREA)
  • Physics & Mathematics (AREA)
  • General Physics & Mathematics (AREA)
  • Television Signal Processing For Recording (AREA)
  • Television Systems (AREA)
  • Image Processing (AREA)
  • Apparatus For Radiation Diagnosis (AREA)
  • Ultra Sonic Daignosis Equipment (AREA)
US08/355,315 1992-02-18 1994-12-12 Image conversion process and apparatus Expired - Fee Related US5659382A (en)

Priority Applications (12)

Application Number Priority Date Filing Date Title
EP95902768A EP0796537A1 (de) 1994-12-06 1994-12-06 Bildtransferverfahren und -vorrichtung
PL94320563A PL175571B1 (pl) 1994-12-06 1994-12-06 Sposób i urządzenie do przetwarzania standardów obrazowych
PCT/DE1994/001500 WO1996018265A1 (de) 1994-12-06 1994-12-06 Bildtransferverfahren und -vorrichtung
RU97112173A RU2139637C1 (ru) 1994-12-06 1994-12-06 Способ и устройство для передачи изображения
CZ971716A CZ171697A3 (en) 1994-12-06 1994-12-06 Method of transferring a picture and apparatus for making the same
JP8517225A JPH10509853A (ja) 1994-12-06 1994-12-06 画像−方式変換のための方法及び装置
HU9702142A HUT77158A (hu) 1994-12-06 1994-12-06 Eljárás és berendezés képátvitelre
NZ277029A NZ277029A (en) 1994-12-06 1994-12-06 Conversion of picture frame sequence from one tv standard to another
AU11910/95A AU690180B2 (en) 1994-12-06 1994-12-06 Picture transfer process and device
US08/355,315 US5659382A (en) 1992-02-18 1994-12-12 Image conversion process and apparatus
NO972569A NO972569L (no) 1994-12-06 1997-06-05 Fremgangsmåte og innretning for bildeoverföring
FI972401A FI972401A (fi) 1994-12-06 1997-06-06 Kuvansiirtomenetelmä ja -laite

Applications Claiming Priority (4)

Application Number Priority Date Filing Date Title
US83748592A 1992-02-18 1992-02-18
US13067493A 1993-10-04 1993-10-04
PCT/DE1994/001500 WO1996018265A1 (de) 1994-12-06 1994-12-06 Bildtransferverfahren und -vorrichtung
US08/355,315 US5659382A (en) 1992-02-18 1994-12-12 Image conversion process and apparatus

Related Parent Applications (1)

Application Number Title Priority Date Filing Date
US13067493A Continuation 1992-02-18 1993-10-04

Publications (1)

Publication Number Publication Date
US5659382A true US5659382A (en) 1997-08-19

Family

ID=25961690

Family Applications (1)

Application Number Title Priority Date Filing Date
US08/355,315 Expired - Fee Related US5659382A (en) 1992-02-18 1994-12-12 Image conversion process and apparatus

Country Status (12)

Country Link
US (1) US5659382A (no)
EP (1) EP0796537A1 (no)
JP (1) JPH10509853A (no)
AU (1) AU690180B2 (no)
CZ (1) CZ171697A3 (no)
FI (1) FI972401A (no)
HU (1) HUT77158A (no)
NO (1) NO972569L (no)
NZ (1) NZ277029A (no)
PL (1) PL175571B1 (no)
RU (1) RU2139637C1 (no)
WO (1) WO1996018265A1 (no)

Cited By (26)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US5872564A (en) * 1996-08-07 1999-02-16 Adobe Systems Incorporated Controlling time in digital compositions
US6269180B1 (en) * 1996-04-12 2001-07-31 Benoit Sevigny Method and apparatus for compositing images
US20040125115A1 (en) * 2002-09-30 2004-07-01 Hidenori Takeshima Strobe image composition method, apparatus, computer, and program product
US20040196299A1 (en) * 2003-04-02 2004-10-07 Autodesk Canada Inc. Three-dimensional compositing
US20050028110A1 (en) * 2003-04-04 2005-02-03 Autodesk Canada, Inc. Selecting functions in context
US20050028101A1 (en) * 2003-04-04 2005-02-03 Autodesk Canada, Inc. Multidimensional image data processing
US20050162529A1 (en) * 2002-01-22 2005-07-28 Motohiro Nakasuji Imaging apparatus and imaging method
US20050239026A1 (en) * 2004-04-05 2005-10-27 Junichi Suzuki Form evaluation system and method
US20060061666A1 (en) * 2003-07-18 2006-03-23 Katsumi Kaneko Image pickup device
US20060083426A1 (en) * 2004-10-18 2006-04-20 Cooper Jeffrey A Method and apparatus for reading film grain patterns in a raster order in film grain simulation
US20060104608A1 (en) * 2004-11-12 2006-05-18 Joan Llach Film grain simulation for normal play and trick mode play for video playback systems
US20060115175A1 (en) * 2004-11-22 2006-06-01 Cooper Jeffrey A Methods, apparatus and system for film grain cache splitting for film grain simulation
US20060133686A1 (en) * 2004-11-24 2006-06-22 Cristina Gomila Film grain simulation technique for use in media playback devices
US20060195233A1 (en) * 2003-09-25 2006-08-31 Toyota Jidosha Kabushiki Kaisha Vehicle wheel information processing device and method therefor
US20060203109A1 (en) * 2005-03-09 2006-09-14 Fuji Photo Film Co. Ltd. Moving image generating apparatus, moving image generating method, and program
US20070013956A1 (en) * 2003-08-22 2007-01-18 Ruriko Mikami Image supply apparatus and recording apparatus, recording system including these appartuses, and communication control method thereof
US20070070241A1 (en) * 2003-10-14 2007-03-29 Boyce Jill M Technique for bit-accurate film grain simulation
US20070104380A1 (en) * 2004-03-30 2007-05-10 Cristina Gomila Method and apparatus for representing image granularity by one or more parameters
US20070269125A1 (en) * 2004-11-17 2007-11-22 Joan Llach Bit-Accurate Film Grain Simulation Method Based On Pre-Computed Transformed Coefficients
US20070297515A1 (en) * 2004-11-16 2007-12-27 Cristina Gomila Film Grain Simulation Method Based on Pre-Computed Transform Coefficients
US20080152250A1 (en) * 2004-11-23 2008-06-26 Cristina Gomila Low-Complexity Film Grain Simulation Technique
US20080186392A1 (en) * 2007-02-06 2008-08-07 Canon Kabushiki Kaisha Image recording apparatus and method
US20100080455A1 (en) * 2004-10-18 2010-04-01 Thomson Licensing Film grain simulation method
US20100259627A1 (en) * 2009-04-13 2010-10-14 Showscan Digital Llc Method and apparatus for photographing and projecting moving images
US7945106B2 (en) 2003-09-23 2011-05-17 Thomson Licensing Method for simulating film grain by mosaicing pre-computer samples
US9117261B2 (en) 2004-11-16 2015-08-25 Thomson Licensing Film grain SEI message insertion for bit-accurate simulation in a video system

Families Citing this family (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US5739894A (en) * 1995-08-25 1998-04-14 Weisgerber; Robert C. Method for exhibiting cinematic images photographed at two different frame rates
DE102005047261A1 (de) 2005-10-01 2007-04-05 Carl Zeiss Jena Gmbh Verfahren zur Erzeugung von Darstellungsbildern aus erfaßten Aufnahmebildern und Mittel zur Durchführung des Verfahrens
US10715834B2 (en) 2007-05-10 2020-07-14 Interdigital Vc Holdings, Inc. Film grain simulation based on pre-computed transform coefficients
RU2611472C1 (ru) * 2016-05-12 2017-02-22 Акционерное общество "ЭЛВИС-НеоТек" Устройство и способ воспроизведения архивного видео

Citations (9)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US1815455A (en) * 1926-09-03 1931-07-21 Paramount Publix Corp Method of producing motion pictures
US3511567A (en) * 1967-06-08 1970-05-12 Optical Systems Corp Method of reprinting old motion picture films
US4672442A (en) * 1984-07-17 1987-06-09 Kokusai Denshin Denwa Co., Ltd. Frame rate conversion system in television signal
US4889423A (en) * 1986-06-26 1989-12-26 Showscan Film Corporation Conversion of high to low frame rate motion picture films
US4891701A (en) * 1987-12-25 1990-01-02 Nec Corporation Television signal frame number converter capable of determining an optimum interpolation coefficient
US5084763A (en) * 1989-04-28 1992-01-28 Ikegami Tsushinki Co., Ltd. Stereoscopic video signal converting apparatus
US5153620A (en) * 1991-01-18 1992-10-06 Magma, Inc. Process for processing motion picture film to reduce strobing
US5181111A (en) * 1990-08-09 1993-01-19 Sony Broadcast & Communications Limited Video signal processing apparatus and method
US5349385A (en) * 1992-08-06 1994-09-20 Florida Atlantic University Adaptive scan converter

Patent Citations (9)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US1815455A (en) * 1926-09-03 1931-07-21 Paramount Publix Corp Method of producing motion pictures
US3511567A (en) * 1967-06-08 1970-05-12 Optical Systems Corp Method of reprinting old motion picture films
US4672442A (en) * 1984-07-17 1987-06-09 Kokusai Denshin Denwa Co., Ltd. Frame rate conversion system in television signal
US4889423A (en) * 1986-06-26 1989-12-26 Showscan Film Corporation Conversion of high to low frame rate motion picture films
US4891701A (en) * 1987-12-25 1990-01-02 Nec Corporation Television signal frame number converter capable of determining an optimum interpolation coefficient
US5084763A (en) * 1989-04-28 1992-01-28 Ikegami Tsushinki Co., Ltd. Stereoscopic video signal converting apparatus
US5181111A (en) * 1990-08-09 1993-01-19 Sony Broadcast & Communications Limited Video signal processing apparatus and method
US5153620A (en) * 1991-01-18 1992-10-06 Magma, Inc. Process for processing motion picture film to reduce strobing
US5349385A (en) * 1992-08-06 1994-09-20 Florida Atlantic University Adaptive scan converter

Non-Patent Citations (2)

* Cited by examiner, † Cited by third party
Title
Pe s l, Ale s , New Illuminating System Design for Transmission Film Copying, Journal of Electronic Imaging, vol. 1, No. 1, Jan., 1992, pp. 29 34. *
Pesl, Ales, "New Illuminating System Design for Transmission Film Copying," Journal of Electronic Imaging, vol. 1, No. 1, Jan., 1992, pp. 29-34.

Cited By (47)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US6269180B1 (en) * 1996-04-12 2001-07-31 Benoit Sevigny Method and apparatus for compositing images
US5872564A (en) * 1996-08-07 1999-02-16 Adobe Systems Incorporated Controlling time in digital compositions
US20050162529A1 (en) * 2002-01-22 2005-07-28 Motohiro Nakasuji Imaging apparatus and imaging method
US7630001B2 (en) * 2002-01-22 2009-12-08 Sony Corporation Imaging apparatus and imaging method having a monitor image frame rate independent of a main line image frame rate
US20060209087A1 (en) * 2002-09-30 2006-09-21 Hidenori Takeshima Strobe image composition method, apparatus, computer, and program product
US20040125115A1 (en) * 2002-09-30 2004-07-01 Hidenori Takeshima Strobe image composition method, apparatus, computer, and program product
US7123275B2 (en) * 2002-09-30 2006-10-17 Kabushiki Kaisha Toshiba Strobe image composition method, apparatus, computer, and program product
US7167189B2 (en) 2003-04-02 2007-01-23 Autodesk Canada Co. Three-dimensional compositing
US20040196299A1 (en) * 2003-04-02 2004-10-07 Autodesk Canada Inc. Three-dimensional compositing
US20050028110A1 (en) * 2003-04-04 2005-02-03 Autodesk Canada, Inc. Selecting functions in context
US20050028101A1 (en) * 2003-04-04 2005-02-03 Autodesk Canada, Inc. Multidimensional image data processing
US7596764B2 (en) 2003-04-04 2009-09-29 Autodesk, Inc. Multidimensional image data processing
US20060061666A1 (en) * 2003-07-18 2006-03-23 Katsumi Kaneko Image pickup device
US7733378B2 (en) * 2003-07-18 2010-06-08 Sony Corporation Matching frame rates of a variable frame rate image signal with another image signal
US20070013956A1 (en) * 2003-08-22 2007-01-18 Ruriko Mikami Image supply apparatus and recording apparatus, recording system including these appartuses, and communication control method thereof
US7945106B2 (en) 2003-09-23 2011-05-17 Thomson Licensing Method for simulating film grain by mosaicing pre-computer samples
US20060195233A1 (en) * 2003-09-25 2006-08-31 Toyota Jidosha Kabushiki Kaisha Vehicle wheel information processing device and method therefor
US8238613B2 (en) 2003-10-14 2012-08-07 Thomson Licensing Technique for bit-accurate film grain simulation
US20070070241A1 (en) * 2003-10-14 2007-03-29 Boyce Jill M Technique for bit-accurate film grain simulation
US20070104380A1 (en) * 2004-03-30 2007-05-10 Cristina Gomila Method and apparatus for representing image granularity by one or more parameters
US20050239026A1 (en) * 2004-04-05 2005-10-27 Junichi Suzuki Form evaluation system and method
US8447127B2 (en) 2004-10-18 2013-05-21 Thomson Licensing Film grain simulation method
US9117260B2 (en) 2004-10-18 2015-08-25 Thomson Licensing Methods for determining block averages for film grain simulation
US7982743B2 (en) 2004-10-18 2011-07-19 Thomson Licensing Method and apparatus for reading film grain patterns in a raster order in film grain simulation
US9953401B2 (en) 2004-10-18 2018-04-24 Thomson Licensing Apparatus and system for determining block averages for film grain simulation
US20060083426A1 (en) * 2004-10-18 2006-04-20 Cooper Jeffrey A Method and apparatus for reading film grain patterns in a raster order in film grain simulation
US20100080455A1 (en) * 2004-10-18 2010-04-01 Thomson Licensing Film grain simulation method
US8447124B2 (en) 2004-11-12 2013-05-21 Thomson Licensing Film grain simulation for normal play and trick mode play for video playback systems
US20060104608A1 (en) * 2004-11-12 2006-05-18 Joan Llach Film grain simulation for normal play and trick mode play for video playback systems
US20070297515A1 (en) * 2004-11-16 2007-12-27 Cristina Gomila Film Grain Simulation Method Based on Pre-Computed Transform Coefficients
US9177364B2 (en) 2004-11-16 2015-11-03 Thomson Licensing Film grain simulation method based on pre-computed transform coefficients
US9117261B2 (en) 2004-11-16 2015-08-25 Thomson Licensing Film grain SEI message insertion for bit-accurate simulation in a video system
US9098916B2 (en) 2004-11-17 2015-08-04 Thomson Licensing Bit-accurate film grain simulation method based on pre-computed transformed coefficients
US20070269125A1 (en) * 2004-11-17 2007-11-22 Joan Llach Bit-Accurate Film Grain Simulation Method Based On Pre-Computed Transformed Coefficients
US20060115175A1 (en) * 2004-11-22 2006-06-01 Cooper Jeffrey A Methods, apparatus and system for film grain cache splitting for film grain simulation
US8483288B2 (en) 2004-11-22 2013-07-09 Thomson Licensing Methods, apparatus and system for film grain cache splitting for film grain simulation
US8472526B2 (en) 2004-11-23 2013-06-25 Thomson Licensing Low-complexity film grain simulation technique
US20080152250A1 (en) * 2004-11-23 2008-06-26 Cristina Gomila Low-Complexity Film Grain Simulation Technique
US8023567B2 (en) 2004-11-24 2011-09-20 Thomson Licensing Film grain simulation technique for use in media playback devices
US20060133686A1 (en) * 2004-11-24 2006-06-22 Cristina Gomila Film grain simulation technique for use in media playback devices
US20060203109A1 (en) * 2005-03-09 2006-09-14 Fuji Photo Film Co. Ltd. Moving image generating apparatus, moving image generating method, and program
US7643070B2 (en) * 2005-03-09 2010-01-05 Fujifilm Corporation Moving image generating apparatus, moving image generating method, and program
US8511901B2 (en) * 2007-02-06 2013-08-20 Canon Kabushiki Kaisha Image recording apparatus and method
US20080186392A1 (en) * 2007-02-06 2008-08-07 Canon Kabushiki Kaisha Image recording apparatus and method
US8363117B2 (en) * 2009-04-13 2013-01-29 Showscan Digital Llc Method and apparatus for photographing and projecting moving images
US20100259627A1 (en) * 2009-04-13 2010-10-14 Showscan Digital Llc Method and apparatus for photographing and projecting moving images
WO2010120354A1 (en) 2009-04-13 2010-10-21 Showscan Digital Llc Method and apparatus for photographing and projecting moving images

Also Published As

Publication number Publication date
NO972569D0 (no) 1997-06-05
EP0796537A1 (de) 1997-09-24
HUT77158A (hu) 1998-03-02
PL175571B1 (pl) 1999-01-29
RU2139637C1 (ru) 1999-10-10
PL320563A1 (en) 1997-10-13
CZ171697A3 (en) 1997-10-15
WO1996018265A1 (de) 1996-06-13
FI972401A (fi) 1997-07-15
NO972569L (no) 1997-08-05
AU690180B2 (en) 1998-04-23
JPH10509853A (ja) 1998-09-22
NZ277029A (en) 1999-04-29
AU1191095A (en) 1996-06-26
FI972401A0 (fi) 1997-06-06

Similar Documents

Publication Publication Date Title
US5659382A (en) Image conversion process and apparatus
US4288818A (en) Method and system to scan motion picture film to develop television signals
US5115311A (en) High resolution translation of images
EP0799547B1 (en) Process for producing time-independent virtual camera movement in motion pictures
CA2013575A1 (en) High resolution translation of images
US4786979A (en) Method and system for picture-correct transfer of motion picture film scenes to magnetic tape
AU606401B2 (en) Film to video tape transfer method
CA2054687A1 (en) Imaging systems
US4660098A (en) Apparatus for producing copies of a video image utilizing line pattern rotation
US5883696A (en) Video monitoring system for a movie film camera
US2878309A (en) Apparatus for making motion pictures of reproductions in field sequential color television systems
US4914520A (en) Video transfer method using time-spaced interleaved fields
US6137948A (en) Frame construction apparatus for slow-speed reproduction of a moving picture signal
CA2207082A1 (en) Image conversion process and apparatus
JP2000028960A (ja) プロジェクタ
US3683992A (en) Slow motion converter for field sequential color television signals
US9392215B2 (en) Method for correcting corrupted frames during conversion of motion pictures photographed at a low frame rate, for exhibition at a higher frame rate
GB2280080A (en) Video frame rate conversion from higher to lower frame rates
AU4963385A (en) Three dimensional images
WO1991014337A1 (en) Motion-picture synthesizing method
JPS62206536A (ja) Ｃｒｔ表示画像撮影装置
CA1107100A (en) Three-dimensional image production
JPS6075179A (ja) ビデオ信号のフイルム録画装置
JP2744614B2 (ja) ホログラフィックステレオグラムの作製方法
SU836616A1 (ru) Устройство дл подготовки рисованныхМульТиплиКАциОННыХ фильМОВ K C'EMKAM

Legal Events

Date Code Title Description
AS Assignment

Owner name: CFB CENTRUM FUR NEUE BILDGESTALTUNG GMBH, GERMANY

Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:RYBCZYNSKI, ZBIG;REEL/FRAME:007351/0082

Effective date: 19941206

AS Assignment

Owner name: WELNOWSKI, RICHARD, NEW JERSEY

Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:CFB CENTRUM FUR NEUE BILDGESTALTUNG GMBH;REEL/FRAME:009534/0974

Effective date: 19980724

Owner name: RYBCZYNSKI, ZBIGNIEW, GERMANY

Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:CFB CENTRUM FUR NEUE BILDGESTALTUNG GMBH;REEL/FRAME:009534/0974

Effective date: 19980724

Owner name: ZBIG VISION GESELLSCHAFT FUR NEUE BILDGESTALTUNG M

Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:RYBCZYNSKI, ZBIGNIEW;WELNOWSKI, RICHARD;REEL/FRAME:009547/0460

Effective date: 19980709

FEPP Fee payment procedure

Free format text: PAYOR NUMBER ASSIGNED (ORIGINAL EVENT CODE: ASPN); ENTITY STATUS OF PATENT OWNER: SMALL ENTITY

FPAY Fee payment

Year of fee payment: 4

REMI Maintenance fee reminder mailed
LAPS Lapse for failure to pay maintenance fees
STCH Information on status: patent discontinuation

Free format text: PATENT EXPIRED DUE TO NONPAYMENT OF MAINTENANCE FEES UNDER 37 CFR 1.362

FP Lapsed due to failure to pay maintenance fee

Effective date: 20050819